Macbeth And Supernatural Essays (1064 words) - Characters In Macbeth

Macbeth And Supernatural Throughout William Shakespeare's Macbeth, many characters evolve and many disappear into the background. The main character, Macbeth (MB for short), travels through utter chaos when he proclaims himself monarch. When he first meets the witches of the supernatural, they tell him of the future. One of the themes amplified throughout the play is the circle of life, from the beginning to the end. The visions provided by the three witches begin Macbeth's quest for dominance. The three main effects of this theme are: the death of Macbeth's friends and family. Second, the deaths of his mortal enemies. The last point is the death of himself. The supernatural amplifies the theme of death. From the first brief encounter of the witches, to the last nightmarish visions that Macbeth has, many close friends and relatives have died because of his visions with the supernatural. The death of his wife in Act V, Scene IV is the death that sends him over the abyss and into mental instability. Lady Macbeth is like a joined appendage to Macbeth. They work as one, communicate as one, and when that appendage is lost, so is MB's grip with reality. Lady Macbeth was the only person he could truly confide in. The supernatural also had another key factor to her death. In the first act of the play, she calls on the powers of the supernatural to make her strong. The following quote, "Come, you spirits that tend on mortal thoughts, unsex me here, and fill me from the crown to the toe, top-full of direst cruelty! make thick my blood, stop up the access and passage to remorse... Come to my woman's breasts, and take my milk for gall...", is possibly the most important passage that leads to Lady Macbeth's death. She calls on the evil spirits to "unsex" her, and to replace her "milk" with "gall". It seems that she wants to be the most cruelest being in the world. The theme of the life cycle is amplified in this situation because of her request to the spirits. This event is the beginning of the end for Lady Macbeth's life. She is the one who insists Macbeth should kill the king and reign as the king of Scotland. It is her ideas and plans that lead herself and Macbeth into the pits of hell. She is not solely to blame for this catastrophe though. It is Macbeth that decides to go forward with the plans. Throughout all the chaos in the remaining scenes of the play, she is eventually killed by one of Malcolm's associates. Therefore, it is her own foul play with the supernatural that leads to her death. This play shows how one man can turn himself into a barbarian just by one simple vision. Throughout this play, many of Macbeth's enemies, and traitors (Banquo) are killed by Macbeth or his hired assassins. In the first vision provided by the witches, Macbeth seems himself as king of Scotland, and Banquo's children future heirs to the throne. When Macbeth finally kills King Duncan, the turning point has vanished. There is no going back to the past and changing what has happened. This event signals the gates of hell to unlatch the door that holds the chaos that will torment Macbeth to his own death. This regicide happens all because to path to what Macbeth thinks of freedom is open. After the Thane of Cawdor is executed, MB believes that he can then crush his remaining enemies with one swift stroke. This is not so, as Macbeth finds. After he commits regicide, he realizes that he must kill all the enemies that oppose him, mainly Malcolm, the king's heir to the throne. When Banquo sees through MB's falsehood, he then turns traitor. When Macbeth realizes that one of his closest friends has become his mortal enemy, he sees to it that Banquo is murdered. Once again, these significant deaths on the timeline all happen because of the supernatural. The visions from the three witches, and the summonings of evil from Lady Macbeth are the two events that mainly lead to this path of destruction. The first paradox from the witches serves to confuse the reader into thinking what will happen to Banquo. Macbeth knows that he must become king of Scotland before Banquo or he will not fulfill his prophecy. All these events lead up to end, the murder of Macbeth himself. From the very beginning of the play, Macbeth sees himself as a visionary, who can see into

English Term Paper Topics

English Term Paper Topics Every student in his academic carrier comes across the situation when he has to write term papers. So, it is very important for each and every student to acquire skills to write English term papers. English term papers vary as they cover different topics, levels and styles. A broad understanding about the different term papers is needed in order to score good grades. English term papers need broad area of study. Your English term paper can be related to different academic fields. An English term paper can be persuasive, ethnographical or can be based on literature works. It is very important to know how to give a head start to you term paper. For many students it is very complicated to start the paper and it is in fact the most difficult part. Sometimes professors provide topics for students. Choosing your topic is an important part of writing a term paper on English topics as it must be interesting and there must be enough information available for a student to research and write about it. For example, if you are asked to write about a book, you must be able to choose the part of the book which is most understandable and interesting for you. This will give you a good thesis statement. Now once you have already got thesis statement the steps following it are easy and come into the flow of writing as the opinion about the subject has already been made. The purpose of the body of a term paper is to support the thesis statement.   Various quotes and citations are used in the body in order to give a better impression on the topic which you have chosen. But, you must keep an eye on the quotes as the use of quotes in excess might decrease reader’s interest in your arguments. After you are finished with the body of the paper, you can start writing the conclusion, which gives the extract of the ideas of term paper and gives your term paper a better finish. If you are having any problems with your English term paper topics, you can ask CustomWritings.com for help and get advice from our experts. There are more than 735 expert writers working with CustomWritings.com and will gladly assist you with your papers.

Definition and Examples of a Glossary in a Book

Definition and Examples of a Glossary in a Book A glossary is an alphabetized list of specialized terms with their definitions.  In a report, proposal, or book, the glossary is generally located after the conclusion. Also known as a clavis (from the Latin word for key). A good glossary, says William Horton, can define terms, spell out abbreviations, and save us the embarrassment of mispronouncing the shibboleths of our chosen professions (e-Learning by Design, 2012). EtymologyFrom the Latin, foreign words Observations Because you will have numerous readers with multiple levels of expertise, you must be concerned about your use of high-tech language (abbreviations, acronyms, and terms). Although some of your readers will understand your terminology, others wont. However, if you define your terms each time you use them, two problems will occur: you will insult high-tech readers, and you will delay your audience as they read your text. To avoid these pitfalls, use a glossary.(Sharon Gerson and Steven Gerson, Technical Writing: Process and Product. Pearson, 2006)Locating a Glossary in a Class Paper, Thesis, or DissertationYou may need a glossary if your thesis or dissertation (or, in some cases, your class paper) includes many foreign words or technical terms and phrases that may be unfamiliar to your readers. Some departments and universities allow or require the glossary to be placed in the back matter, after any appendixes and before the endnotes and bibliography or reference list. If you are free to choose, put it in the front matter if readers must know the definitions before they begin reading. Otherwise, put it in the back matter.(Kate L. Turabian,  A Manual for Writers of Research Papers, Theses, and Dissertations, 7th ed. The University of Chicago Press, 2007) Suggestions for Preparing a GlossaryUse a glossary if your report contains more than five or six technical terms that may not be understood by all audience members. If fewer than five terms need defining, place them in the report introduction as working definitions, or use footnote definitions. If you use a separate glossary, announce its location: (See the glossary at the end of this report).Follow these suggestions for preparing a glossary:Define all terms unfamiliar to an intelligent layperson. When in doubt, overdefining is safer than underdefining.Define all terms that have a special meaning in your report (In this report, a small business is defined as . . .).Define all terms by giving their class and distinguishing features, unless some terms need expanded definitions.List all terms in alphabetical order. Highlight each term and use a colon to separate it from its definition.On first use, place an asterisk in the text by each item defined in the glossary.List your glossary and its first page number in the table of contents.(John M. Lannon, Technical Communication. Pearson, 2006) Collaborative Glossaries in the ClassroomInstead of creating a glossary on your own, why not have the students create it as they encounter unfamiliar terms? A collaborative glossary can serve as a focal point for collaboration in a course. Each member of the class could be assigned to contribute a term, a definition, or comments on submitted definitions. Multiple definitions can be rated by you and by the students, with the highest-rated definitions accepted for the final class glossary.When students are responsible for creating the definitions, they are much more likely to remember the word and the correct definition.(Jason Cole and Helen Foster, Using Moodle: Teaching With the Popular Open Source Course Management System, 2nd ed. OReilly Media, 2008) Pronunciation: GLOS-se-ree

Principal agent theory Essay Example | Topics and Well Written Essays - 750 words

Principal agent theory - Essay Example The relationship that takes place between particular agents along with a particular principal is recognized as agency. Under the principal agent theory, the principals liability does not ends when authority is transferred to the agent and the principal continues to be liable to the third party for any shortcoming from the end of the agent. The agent principal theory is applied in various contexts such as employment and real estate. In case of employment a principal agent relationship arises when a owner of c particular company hires a manager to work or operate on his behalf while dealing with third parties. In this case the principal is the owner of the company and the agent is the manager. Similarly, subordinates become agents and managers become agents when subordinates work on the behalf of the managers. In both cases the principal is held reliable for any wrong doings conducted by the agent. Issues in Principal Agent Theory Owners of a company are regarded as principals when the y enter into a contract with the agents as agents accept that they will manage the principal’s business. ... An issue between the agent and the principal does not take place until there is a coexistence of the benefits for both the principal and the agent. A principal might end up experience cost of agency when the self interest of both the individuals deviates. This is because if the agents have the opportunity they will try to ensure that their own utility is maximized as they end up giving more importance to their self interest over the interest of the principal (Steiner, 2002, p.17). There is ample amount of probability that both the agents and the principals do not share mutual opportunities of benefits. The theory of agency even states that a principal cannot be sure whether agent will give importance to his own utility over the utility of the principal thus the principle tries to minimize losses that are projected towards his own utility. They do so by keeping strict control over the agent and monitoring the behavior of the agent. The issue that is caused due to the self serving beha vior of the agent is even recognized as hidden action (Stolle, 2008, p.63). An issue of hidden action arises as the agent may be involved in committing an act that cannot be observed by the principal or the principal does not have the information to identify what the agent is involved into. For example: In the case of real estate, an individual may hire a real estate agent to look for a home with certain characteristics and of certain price. The principal doers not know where to look for a home that is compatible with his requirements and is even not aware of the price of such a house. The agent’s task is to locate such a house and quote the correct price of the house to the principal. Since the agent has the motivation of maximizing his/her utility he may

Great Wall Golf & country Club Case Study Example | Topics and Well Written Essays - 1250 words

Great Wall Golf & country Club - Case Study Example The development of Great Wall was intended to integrate the hotels and sports facilities with business and convention functions in the form of one modern community. Some of the key Human Resource policies at Great Wall include job design, change management, recruitment and selection, training and development, recognition and rewards, communication, managing discipline and retirement and termination. Great Wall has managed to achieve its staffing needs but staff retention is a larger problem. Therefore Great Wall employs various HRM practices which help in achieving its strategic goals. The goal of Great Wall is to not just maintain its status but also to evolve, grow and get better. It has therefore defined several strategic goals like business results, customer loyalty, employee loyalty and core competency/effectiveness which it aims to achieve in future. 1. How do the HRM practices at Great Wall fit together strategically?   Great Wall’s core goal is to provide high qualit y service to each of its employees as well its customers. High class and successful Chinese business people, their spouses and guests expected a high quality service in order to compensate for the premium prices they paid as membership dues. Delivery of such high quality services was very challenging because such facilities were very difficult to access in China which could be easily available elsewhere. Therefore this situation made the need of friendly, responsive and high quality service more crucial. Great Wall deploys various training and development programs in its organizational structure whose aim is to provide practical and language training to its employees which help them gain self confidence and instills in them a service-oriented mindset. Managers are responsible for training staff in their departments. This reiterates the Group philosophy and mission and also results in longer employee retention and higher employee satisfaction. This ultimately leads to providing high quality service to everyone. Apart from providing transportation, meals, accommodation and recreational activities to its employees, Great Wall also provides non-monetary incentives such as English lessons, medical plans, comfortable housing, good food environment, security and entertainment. Also, working conditions and environment are far more pleasing at the resort and golf club of Great Wall than in the industrial settings. This helps in gaining employee confidence who would give his best to provide high quality service to its customers. Great Wall also conducts reward giving sessions for its managerial staff as well as rank and file employees wherein employees are appreciated and rewarded for performing well. For managerial recognition, the executive committee recently introduced a managerial bonus structure which involves a bonus accompanied by an increment in salary. The reward system for rank and file employees includes the â€Å"Employee of the month† award which rec ognizes the employee’s achievement and provides him with financial reward of one month’s salary. Achievers and star performers are invited to a party each month and their photographs are hung at a place where they can be conveniently viewed by guests and all visitors at the club. For

Background to the French new wave cinema Essay Example for Free

Background to the French new wave cinema Essay The New Wave (French: LA Nouvelle Vague was a term coined by critics for a group of French Filmmakers that existed in the late 1950s and 1960s. these set of filmmakers were actually influenced by Italian Neorealism, (New form realism). Although, this group of people was not well organized filmmakers, they were however connected through their self conscious rejection of classical cinematic form and their spirit of youthful iconoclasm. Many of them never had the social and political upheavals of that period separated from their work. Their experience which came up in a radical movement experimented with editing/visual style, and narrative part as a way of breaking from the old tradition of conservation. So many filmmakers were actually involved in this movement; however, the most prominent pioneers among them include Jean – Luc Goddard, Fancois Truffaut, Eric Rohmer, Claude Charbroil, and Jacques Rivelte among others. Through criticism and editorialization, they laid the groundwork for a surge of concepts which was later termed as the auteur theory, the French version of which is â€Å"La Politique des auteurs† meaning (â€Å"the policy of authors†). This policy holds that the director is the author of his movies, with a personal signature which must be seen from film to film. The beginning of New Wave was an exercise by the cahiers writers in applying his philosophy to the world by directing movies themselves. Chabrol’s Le Beau Serge (1958) is seen as the first New Wave feature. Truffaut achieved great success in the 400 Blows (1959) and Godard, with Breathless in 1960. The movement flourished immensely due to the success it recorded in the area of criticism and financing. This turned the world’s attention to the innovation of the New Wave and enabled the movement to flourish the more. New Wave Cinema is a common term in Film studies as a way of bringing together series of films and personnel that represent a change of direction or a break with the past. It is important to note that New Wave is an era usually referred to as a historical moment within a National Cinema. The most popular example of the French New Wave (Nouvelle Vague); essentially a group of young critics who broke away from the earlier or olden tradition and resorted to producing films that are highly exciting, experimental and innovating. The question then, is what the nature of French Cinema before this innovation was. The French were the pioneers of early Cinema through the silent films of Auguste and Louis Lumiere and Georges Melies. These filmmakers represent the polar opposites of cinematography; a realistic documentary approach for the Lumiere brothers. During the late 30s, France experience a period of increased political awareness that encouraged the development of poetic realism (i. e. realisme poetique) which characterized French Cinema during this period. The intended effect of poetic realism was to project an ambivalent image, a romanticized vision of the world, as well as an atmosphere of fatalism reflecting the spirit of time. French Cinema was seriously affected by the Second World War during the Nazy German occupation which also dominated the world of film making. Even though the Cinema industry was ruined, the French people needed entertainment and as the result and in the early fifties, French production started thriving again. The films were marked by distinctive features that were considered very quality oriented. (LA tradition de qualite). At the origin of the New Wave was a Cinema journal called Cahiers du Cinema and the development of a critical notion La Politique des auteurs, which both grew increasingly influential in the 1950s as a reaction to the mainstream quality tradition on the one hand, and to enthusiastic cinephilic interest in a few distinctive directors working in Hollywood on the other. Even though it has been permanently established today, the French New Wave was not originally conceived as a Cinema movement or a school, but rather was the result of specific socio-cultural circumstances. A number of important technical developments for example, (New lighter cameras; faster, more light sensitive film; synchronous sound equipment and the advent of television) took place in the second half of the 1950s which coincided with the emergence of a new generation of critics, actors and directors. The group of new young directors who were included under the umbrella phrase of the New Wave (Jean – Luc Godard, Eric Rohmer, Alain Resnais, Claude Charbol and Francois Truffant) brought in new ideas, the enthusiasm of youth and a sense of freedom into French Cinema. Goddard was the intellectual of the group interested in formal experiment, and later became politically involved; Truffaut’s film combined humanism, emotion and sensitivity; New Wave directors work together, exchange ideas, screenplays, technicians and even actors. This collaboration certainly helps explain some common characteristics in the films that were, and still are, associated with the New Wave. These and many more are the crux of the New Wave. A FOCUS ON FRANCOIUS TRUFFAUT Francois Truffaut was born in Paris on the 6th February, 1932. He attended Lycee Rollin, Paris. He was later enlisted into the army, but later escaped on the eve of departure for Indochina. He was later released for character instability. Francois was married to Madeleine Morgenstern and got divorced around 1957; he actually had two daughters from her. He was the founder of Cine – club in Paris; he was jailed at a point due to his inability to pay his debt and was later released. He was briefly employed by the service of Cinematographique of the Ministry of Agriculture in 1953. He became a writer on film for Cahiers du Cinema, arts from 1953, including seminal article, â€Å"Une certain Tendance du Cinema Francois† in 1954; he directed his first – feature, Les Quatre Cents Coups, and wrote script for Godard’s â€Å"A bout de souffle. He had won so many awards; these include Best Director, Cannes Festival, for Les Quatres Cents Coup, 1959; Prix Louis Delhic, and Best Director, New York Film Criticism and British Academy Award for Best Direction, for Day for Night, 1973. He died of cancer in Paris on the 21st October, 1984. However, before his death, he achieved great fit in the world of Cinema in France. He was one of the five young French film critics, writing for Andre Bazin’s Cahiers du Cinema in the early 1950s. He was the one that first formulated the politique des auteurs, a view of film history and film art that defended those directors who were â€Å"true men of the Cinema. These include Renoir, Vigo, and Tati in France; Hawks, Ford, and Welles in America – rather than those more literary, script – oriented film directors and writers associated with the French â€Å"tradition of quality†. In his first feature in 1959 of Les Quatre Cent Coups, he put his ideas of Cinema spontaneity into practice with the study of an adolescent, Antoine Doinel, who breaks free from the constrictions of French society to face an uncertain but open future. Since this debut, Truffaut’s career has been dominated by an exploration of the Doinel character’s future. In Truffaut’s 25 years of making films, the director, the Doinel character, and Leaud all grew up together. THE FILM, LES QUATRE CENTS COUPS (THE FOUR HUNDRED BLOWS) BY FRANCOIS TRUFFAUT The rebellious teenager of Less quatre cent coups becomes a tentative, shy, sexually clumsy suitor in â€Å"Antoine et Colette† episode of Love Love at Twenty. In Baisers Voles, Antoine is older but not much wiser at either love or money making. In Domicile conjugal, Antoine has married but is still on the run toward something else – the exotic lure of other sexual adventures. And in L’ Amour en fuite, Antoine is still running sequence that concludes Les Quatre Cent Coups. Although Antoine is divorced, the novel which he has finally completed has made his literary reputation. That novel, it turns out, is his life itself, the entire Doinel Saga as filmed by Truffaut, and Truffaut deliberately collapses the distinction between written fiction and filmed fiction, between the real life of humans and the fictional life of characters. The collapse seems warranted by the personal and professional connections between Truffaut the director, Doinel the character, and Leaud the actor. Truffaut in his film making remained consistently committed to his highly formal themes of art and life as can be seen in the â€Å"Four Hundred Blows†. He also concentrated on film and fiction and youth education, rather than venturing into radical politics as was the case with Jean – Luc Godard. While stating his position in Le Dermer Metro, one of his most political film, which examines a theatre troupe in Nazified Paris. The film director appeared to confess that, like those actors in that period, he could only continue to make art the way he knew how, that his commitment to formal artistic excellence would eventually serve the political purposes that powerful art always serves, and that for him to betray his own artistic powers for political, lead to his making bad art, and load political statements. In this rededication to artistic form, Truffaut was probably restating his affinity with Jean Renoir. He wrote about for Cahiers du Cinema. Renoir like Truffaut, progressed from making more rebellious black-and-white films in his youth to more accepting colour films in his adult age; he played major roles in most of his own films as was the case with Renoir. FRANCOIS TRUFFAUT AND FILM THEORY THE AUTEUR THEORY According to Wikipedia, the free Encyclopedia, in film criticism, the auteur theory of 1950s holds that a director’s films reflect his personal creative vision, as if they were the primary â€Å"auteur† (the French word for â€Å"auteur†). In some cases, film producers are considered to have a similar â€Å"auteur† role for the films that they have produced. In law the auteur is the creator of a film as a work of art and is the original copyright holder. Under the European Union law, the film director shall always be considered the author or one of the authors of a film. Auteur theory by Francois Truffaut has had a major impact on film criticism ever since it was advocated in 1954 by the same Francois. â€Å"Auteurism† is the method of analyzing films based on this theory, or, alternatively, the characteristics of a director’s work that makes her or him an auteur. Either the auteur theory or, alternatively, the characteristics of a director’s work that makes him an auteur (author) Both the auteur theory and the Auteurism method of film analysis are closely tied to the French New Wave and the film critics who wrote for the influential French film review periodical â€Å"Cahiers du Cinema. † Auteur theory draws on the work of Andre’ Bazin, co-founder of the Cahiers du Cinema, who argued that films should reflect a director’s personal vision. Bazin championed film makers such as Howard Hawks, Alfred Hitchcock and Jean Renoir. Although Bazin provided a forum for Auteurism to flourish, he remained wary of its excesses. Another person who this theory can be traced to is Alexandre Astrucx, who notion of the camera – stylo or â€Å"Camera pen† and the idea that directors should wield their cameras like writing use their pens and that they should not be prevented by any form of traditional storytelling. Traffaut and the other members of the Cahiers recognized that moviemaking was an industrial process. To this end, they proposed an ideal to strive for; thus, the director should use the commercial apparatus the way a writer uses pen and, through the mise en scene, imprint their vision on the work. What this means is that the role of screen writer was minimized in their eyes. They also understood and realized that not many directors could reach this ideal; they however value those that attempt to draw close to the ideal. In his further explanation on his theory, Truffant asserts that there are no good or bad films or movies, rather only good or bad directors exist. Invariably, he tends to say that a director makes the film and not the story line or the script per – say. This is the more reason why the director of a film should be the writer of the script. Much of Truffaunt’s writing of this period and his colleagues at the film criticism magazine cahiers du Cinema, was specially designed to ridicule or criticize post-war French Cinema, especially the big production films of the Cinema de qualite (â€Å"Quality films†) Truffaunt in his theory referred to these films with disdain or sterile, old fashion or archaic. The theory essentially maintains that all good directors and many bad ones have such a distinctive style or consistent theme that their influence is unmistakable in the body of their work. Traffaunt was equally appreciative of both directors with a marked visual style such as Alfred Hitchcock, and those whose visual style was less pronounced but who had nevertheless consistent in their theme, throughout their movies such as Jean Renoir’s humanism. The auteur theory has created a lot of impact on directors of the New Wave Movement of French Cinema in the 1960s; many of such were the critics of the Cahiers du Cinema. One of the ironies of the auteur theory is that when Truffant was writing, the break-up of the Hollywood Studio System during the 1950s was ushering in a period of uncertainty and conservation in American Cinema, with the result that very few films of Truffant admiration were actually being made. The impact of the theory did not just stop in France. It was adopted in English – Language film criticism in the 1960s. In the UK, movie adopted Auteurism, while in the US; Andrew Sarris introduced it in the essay, â€Å"Notes on the Auteur Theory in 1962. † This essay is where the Half-French, Half-English term, â€Å"auteur theory†, originated. To be classified as an â€Å"auteur†; according to Sarris, a director must accomplish technical competence in their technique, personal style in terms of how the movie looks and feels the interior meaning. Later in the decade, Sarris published American Cinema; Directors and Directions, 1929-1968, which without delay turned out to be the unofficial Bible of Auteurism. A FOCUS ON A BOUT DE SOUFFLE BY JEAN – PAAL BELMONDO; AN ANALYSIS WITH PARTICULAR FOCUS ON VISUAL ELEMENTS USED IN THE MAKING OF THE FILM In our analysis, we shall see how Godard created the New Wave style by using production techniques to achieve some visual show. These techniques include location shooting, hand-held camera, natural lighting, casual acting and subversion of rules of classical editing. All these techniques cannot be found in tradition of quality, turn the film into spontaneous and improvised performances, rather than being the mere representation of the script, which exists before the film – making process begins. About de Souffle begins with Michael Pioccard (Jean – Paul Belmondo) stealing a car to drive him to Paris. However, two Policemen on motorcycles chase him. He turns off the road, but is followed by one of the Policemen. Michael shoots the Policeman and runs off. What makes this part of the film unusual and innovative is the way it is filmed. There is therefore every need to analyze the film based on the shots; it is only with that that a vivid understanding of the visual elements can be clearly understood. The first 17 shots last just 44 seconds, which makes an average a change of shot every 2. 6 seconds. (The first shot lasts 14 seconds). All the innovative production techniques mentioned above are apparent in this series of shots. The scene is shot on location, on the highway. The rest of the scene is also shot on location patricianly on the street of Paris. The camera is very mobile and shaky. The pans in shot 3 and 4 are very quick, creating blurred images. The Lighting is natural in shot 7, the sun shines directly into the lens, creating a bloomer. Belmondo is renowned and often initiated for his casual acting style in this film. He seems to improvise most of the time. Finally, this series of shots subvert the rules of continuity editing. The cut from shot 3 to shot 4 is less than 30 degrees and, therefore creates a Jump cut. In shot fire, Michael’s car is traveling from screen left to screen right. But in shot 6, the Police are shown traveling in different or opposite direction, from screen right to left. The Cameraman has crossed the road after filming the car to film the motorcycles. Such a swift change of direction creates a confusion of screen space. Almost in the same vein, when Michael stops the car, he looks screen left at the Police passing by. But after he picked up the gun, he looks screen right at the Policeman, instead of screen left, as the viewers screen left, as the viewers would expect. The cut from 15 to 16, the shot of Michael’s hand to the shot of the gun, created another jump, because there is very little difference between the two shots. The use of shaky, hand-held camera, together with the use of location shooting and natural lighting, jump cuts and discontinuous editing, do not aim to show the action clearly; instead, it offers a fragmentary and partial vision of the scene. These â€Å"imperfect† techniques represent the auteur’s presence and serve as a clear mark of the way he or she writes his or individual vision into the film. The effect these production techniques create is one of spontaneity and improvisation. However, what is interesting is the use of these techniques to give the film a documentary feel. The blurred pans, the shaky camera movements and abrupt editing testify to the difficulty the camera man faces in the situation which he found himself and his physical interaction with the event. It is imperative to note that the stylistic choices made by French New Wave directors were not simply determined by aesthetic considerations, but also y economics. The French New Wave is a low budget film making practice. Filming on location with natural lighting decreases production costs, just as the emphasis on spontaneity defrays pre-production cost such as script writing. Nevertheless, far from being deponent by the lack of finance, the French Wave directors identified low production costs with artistic freedom. They saw that a close relationship exist between the size of the budget and artistic freedom for visual creation and effect. Hence, they believed that the higher the budget, the lower the artistic freedom as one may not be allowed to improvise since every technicality would be in place. This is not the case in the Hollywood Film making. The direct opposite is the case here. To this end, a sharp contrast is noticeable while comparing the Hollywood Wave Film making with the French New Wave. FRENCH NEW WAVE CINEMA AND HOLLYWOOD FILM MAKING: JUXTAPOSITION Contrary to what we saw in the French New Wave Cinema, the Hollywood film making has taken a different dimension. Many of the initial conventions of the French Wave are beginning to go into extinction today. Jump cuts were used so much to cover mistakes as they were an artistic convention. Jean – Luc Godard certainly appreciated the dislocating feel a jump cut conveyed. The use of location shooting, natural lighting and improvisational acting by Midvale Claude Chabrol and Francois Truffaut as well as Jean – Luc Godard has been visited with an innovation with the emergence of Hollywood and its dominance in the film making in the world; as accurate and appropriate measures are often taken to curb any attitude of copying the incomplete and quick production of the French Wave Cinema. It is against this background that it has become necessary to say that since the advent of commercial Cinema of a century ago, the costs and complexity of film making have encouraged producers to develop a factory-oriented approach to production. This is the case of the Hollywood film making. The benefit of such approach includes the centralization of both production and management; the division and detailed subdivision of labor. This is not the case with the French New Wave Cinema as they upheld the director as the only competent artist without any form of division of labor. Contrary to the French New Wave Cinema, where standardized production is often questionable, Hollywood film production often yearns for standard. This, they do through putting all they can to ensure that the production is of standard. This stern from film style, product type, cost efficiencies derived from economies of scale, consistent production values; and the cultivation of a brand name in the movie market place. This was not the case in the French New Wave Cinema. Their major target was artistic freedom which should not be restricted by high budget. But in the case of Hollywood, artistic freedom is not emphasized, what is emphasized is the quality of the film to be produced which is often encouraged or motivated through huge budgeting and division of labour. The idea of proper film making set into Hollywood in 1910 in California; when the locale became the centre of commercial film production in the United States. The dominant firms referred to their facilities as â€Å"studios†, which invoke the more artistic aspects of film making, although operations on the kind of model that Henry Ford (1963-1947) was introducing to the auto industry at the time. In the larger global context, Hollywood has been the dominant force throughout motion future history due to the studio’s collective control of distribution as well as production. This control diminished considerably in post war era. This was due to the rise in independent production and freelance talent as well as the threat of television and other new media. Yet, the Hollywood studios are the strongest shaping forces in movie industry, and their operation today is the fundamental extension of the system that they established at their inception. It is against this background that it has become obvious that the current trend in the Hollywood film making is better off than the French New Wave Cinema and that is why some of the French New Wave Directors realized themselves that the Hollywood Cinema is something to write home about. To buttress our point and to clearly back up this juxtaposition without any form of prejudice, a cursory examination of some prominent Hollywood film makers such as John Ford, Alfred Hitchcock and Nicholas Ray would be taken into consideration. JOHN FORD AND THE HOLLYWOOD FILM MAKING There is nobody after having gone through his profile would doubt his greatness in the American movie making. Even among great film makers, the greatness of John Ford is often observed. This is why Welles much quoted Matra was â€Å"John Ford, John Ford and John Ford†. The road to Citizen Kane and Xanadu. A John Ford film was a visual gratification; this was not the case during the French New Wave Cinema. His method of shooting was characterized with clarity and apparent simplicity. Frank Capra called Ford â€Å"pure great† and Elian Kazan confessed that, even after half-a-dozen films, he studied Ford’s oeuvre to learn how to become more cinematic. She says ‘Ford taught me to tell it in pictures. . . Jack taught me to trust long shots. This is a clear indication that Ford as a filmmaker of the Hollywood believed and upheld the issue of technicality and visual elements in the making of his films. This is contrary to what was in vogue during the New Wave of French Cinema. Ford’s greatness in the Hollywood film making manifests again when Fredrick Fellini says â€Å"When I think of Ford, I sense the smell of barracks of horses, of gunpowder, . . The amending trips of his heroes. But, above all, I feel a man who liked motion picture, who lived for the Cinema, who has made out of motion pictures a fairly tale to be told to everyone, but in the first place a fairly tale to be lived himself . . . For all this, I esteem him, I admire him and I love him. † Ford made more than 60 silent films, about 130 movies in all. John Ford has to a great extent contributed immensely to the development of film in the world. Nicholas Ray was born on August 7th 1911 and died June 16 1979. Coming from a radio background, Ray directed his first and only Broadway production, the Duke Ellington Musical Beggar’s Holiday, in 1946. After a year he went into directing films, and he directed his first film, The Live by Night. This film though was visited with a lot of criticism, for its extreme empathy, The New York Times gave the film a positive review and acclaimed Ray for â€Å"good, realistic production and sharp direction. Ray has an eye for action details. His staging of the robbery of a bank, all seen by the lad in the pick-up car, makes a fine clip of agitating film. One of his prominent films ‘Rebel Without a Cause† distilled much of the essence of Rays Cinematic vision; expressionistic use of colour, dramatic use of architecture and empathy for those who struggle to fit in to mainstream society. Ray had been praised by most French New Wave Cinema, such as Jean – Luc Godard who referred to him as the Cinema. Thus he says â€Å"The Cinema is Nicholas Ray†. This at attests to the fact that Ray has contributed greatly to the field of Cinema. Having studied and researched in Hollywood Studio directors as can be seen above, it is important to juxtapose the French New Wave Cinema with their works in the field of film making. The way the films of the French New Wave were made reflected and interest in questioning Cinema itself, by drawing attention to the conventions used in film making. In this manner, the French New Wave directors strove to present an alternative to Hollywood by consciously breaking its conventions, while at the same time paying homage to what they regarded as good in Hollywood Cinema. French New Wave films had a free editing style and did not conform to the editing rules of Hollywood films. The editing often drew attention to itself by being discontinuous, reminding the audience that they were watching a film for example by using jump cuts or the insertion of material extraneous to the story (non-dugetic material). Godard in particular, favored the use of the jump cut, where two shots of the same subject are cut together with a noticeable jump on the screen. In a Hollywood film, this would be avoided by either using a sot/reverse shot edit or cutting to a shot from a camera in a position over 300 from the preceding shot. In Godard’s first full length film A Bout de Souffle, jump cuts were used during a lengthy conversation. Irrelevant shots were sometimes inserted for ironic or comic effect. The acting in the French New Wave Cinema was a marked departure from much that had gone before. They were encouraged to improvise their lines, or talk over each others lines as would happen in real life. In A Bout de Souffle, this leads to lengthy scenes of inconsequential dialogue, in opposition to the staged speeches of much traditional film acting as the case of Hollywood. Women were often given strong parts that did not conform to the archetypal roles seen in most Hollywood Cinema, for example Jeanne Moreau in Truffaut’s Jules ET Jim (1962) To this end, the reason why the French New Wave filmmakers praised a style so very different from their own has been obviously established and in this regard, one now understands that the excellent and perfect production of the Hollywood Cinema cannot in anyway be overemphasized. BIBLIOGRAPHY 1) http:/en. wikipedia. org/cinematic New Wave 2) Gerald Mast http://www/filmreference. com/Directors-st-ve/Truffaut-Franois. html

Free Handmaids Tale Essays: The Red Motif :: Handmaids Tale Essays

The Red Motif in The Handmaid's Tale In the dystopian novel "The Handmaid's Tale" written by Margaret Atwood, the recurrent appearance of the color red draws an interesting yet perverse parallel between femininity and violence. The dominant color of the novel, red is associated with all things female. However, red is also the color of blood; death and violence therefore are closely associated with women in this male-dominated ultraconservative government. We are first introduced to the color red when the narrator is describing how she gets dressed: "The red gloves are lying on the bed. Everything except the wings around my face is red; the color blood, which defines us." Here, we are unsure if Atwood is referring to blood as menstrual and feminine, or as the result of disobedience and the violence which results. The women of "Handmaid" are cloaked in red as a reminder of their fertility. However, in the context of Gilead, red is not just menstrual blood or blood resulting from birth; the red is a threat of death. Offred would later say, "I never looked good in red, It's not my color. "Red tulips are also a recurrent image in "The Handmaid's Tale." Tulips, often seen as llonic symbols in many works, can be interpreted this way also. Tulips are women, and red tulips are women cloaked in red, red blood. On page 12 Offred narrates: "The tulips are red, a darker crimson towards the stem, as if they have been cut and are beginning to heal there." If a deeper interpretation of this thought is warranted, I would think the place where the tulip meets the stem in the neck of the woman, and as the government came in and stripped them of all power they "cut off their heads" in a way by depriving them of money, reading materials, and any type of education. Tulips, like the cloaks, are symbols of violence against females in the perverse world of Gilead. A blatant use of red to relate women with violence can be seen on page 32: "But on one bag there's blood, which has seeped through the white cloth, where the mouth must have been. It makes another mouth, a small red one. . . This smile of blood is what fixes the attention finally." The men who are hanging are meant to scare, as Atwood clearly states, yet meant to scare who?

Health, Safety and Security Essay

Explain potential hazards and harm that they may arise from each in a health and social care setting (P1) There are lots of hazards that may occur in health and social care settings, these hazards pose risks of harm that effect specific service user groups. The essay is based on a private residential care home for the elderly with dementia, these people have mobility issues and other health issues associated with old age, e.g. high blood pressure and diabetes. There are 20 residents with 8 permanent members of staff including a nurse and various care workers. Hazards in the physical environment The physical environment includes everything that is around you e.g. people, buildings, pets, objects, temperature and air; all of which have a dramatic influence on people’s well-being. There is a governmental National Minimum Standards which people must maintain for a healthy physical environment. These pose risks for the elderly residents due to their limitations in vision and with movement. The hazard is the obstacle of boxes left in the narrow hallways. This risk is that the elderly people will trip over the boxes and cause injuries to themselves, this is caused by their limitations of movement and vision thus them not seeing the obstacle or can’t move to avoid them so they are likely to fall over them. (http://ageing.oxfordjournals.org/content/26/3/195.full.pdf) Hazards from equipment The hazards from equipment are any equipment you use or come in contact with in the work place; these could pose a hazardous risk. This is a hazard in the residential care home due to the residents needing regular medical tests to see if their medication is working and if not then a review of the medication is needed to assess what needed to be done to help the residents. If the medical equipment such as a sphygmomanometer gives false readings due to it been broken then it can cause patients to be misdiagnosed that there medication is needed at the dosage. This misdiagnoses could potently cause injury to the residents e.g. if a person has high blood pressure but the equipment gives a low reading then long term damage can happen to blood vessels such as ones in the kidneys. (http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2563463/) Hazards from infection Serious infections mainly only pose risks if procedures are correctly followed, if they are not followed then it causes unnecessary hazards to yourself and others. This is a potential life threatening hazard in the elderly residential care home especially for those who are immune compromised, which elderly people are. Diseases such as MRSA can spread rapidly around the care home if correct procedures in cleaning are not followed, this infection has been linked to over 1,000 deaths a year. These hazards of infection come from things such as incontinence pads not been disposed of, a lack of hygiene levels been maintained etc. (http://www.ncbi.nlm.nih.gov/pubmed/12652388) Hazardous waste Hazardous waste is any human waste and potently infected equipment, this waste needs to be disposed of correctly. Syringes and needles are a serious hazard which can cause needle-stick injuries; this can happen if these objects are not disposed of correctly. They should be disposed of in sharps boxes which are then incinerated; if not there is a potential risk of the spread of, HIV and Hepatitis B virus. Within the residential care home it is a large risk as if procedures are not followed for the residents, blood carried infection such as hepatitis B can be spread to other residents. This can happen by them having yearly flu vaccinations, if the needles are not changed for each resident then these infections are spread. Also soiled bedding and incontinence pads are a hazardous waste which should either be washed at a high temperature to kill the bacteria or be disposed of and incinerated, this will prevent diseases and infections spreading thus becoming a hazard. (http://www.epa.gov/ superfund/students/clas_act/haz-ed/ff_01.htm) Hazardous substances There are many hazardous substances in health and social care settings, most are only potential risks if correct procedures are not followed. This is a hazard particularly in care home as the residents can become disorientated and may ingest the chemical cleaning products without realising how hazardous it can be. By ingesting the chemical cleaning products it could kill or seriously damage the residents internally. To prevent this happening, all hazardous substances should be stored in either a lockable cabinet so residents cannot ingest them. Also medicines are a hazardous substance which if they are not stored in a lockable medicine cabinet can lead to residents ingesting them which can kill them. (http://www.rospa.com/occupationalsafety/training/riskassessment/control-of-substances-hazardous-to-health.aspx) Hazardous working conditions Working conditions are all aspects of where you are during your work. This includes things such as the staffing levels, hours of work and staff relations. There are a lot of regulations in the health and social care sector which helps maintain a standard of care. However there is a higher than normal levels of staff turnover with much staff shortages this causes the staff to have to rush over there work thus procedures are not always followed correctly leading to an increase in the risk of accidents and injuries. Also many staff members may have to work double shifts or long shifts which may lead to staff neglecting residents as been over tired means staff will forget doing things which is necessary. Within the care homes for the elderly this is a very dangerous hazard, due to their possible limitation in movement, it can cause the service users to come to harmed due to neglect caused by a lack of supervision by staff members as they are over worked. Hazardous security systems Security systems are put in place to protect the safety of staff and the service users. All social, health, yearly years care and residential homes have security system procedures in place to protect people. Within the residential care home there are lots of confidential personal medical records that have to be kept secure. If they are not kept secure then their bank details could be used and their money stolen without them knowing, this could lead to their family not been able to afford to pay for the care home and the person losing their place in the home. Also the residents have dementia so there is a security hazard as they may wonder off the premises and get injured. To prevent this happening all doors and windows must be locked. Doors can have electronic locks so only authorised people can enter or leave the home, yet if there’s a fire or emergency the doors unlock to allow residents and staff to leave easily

Code of Ethics Paper Essay

Most professional healthcare organizations have defined a mission statement, a code of ethics, and core values. These three documents must be agreement with each other and work together to define the organization. A mission statement communicates the overall purpose of the organization, and uses concepts such as philosophy or distinctive factors (Babnik, Breznik, & Dermol, 2014). A code of ethics is defined as â€Å"one of the characteristics of a profession. It is defined by the profession through the professional association and serves to inform members of that profession and society about the profession’s expectations in ethical matters† (Kikuchi, 2005). Finally, core values are the chosen principles or virtues on which importance is placed (Fremgen, 2009). Here we will discuss these aspects of the American Nurses Association (ANA), as well as the relationship between the organizations goals, social responsibility, and the congruence between the ethical values and those of the professionals who belong to the organization. The nurse, in all professional relationships, practice with compassion and respect for the inherent dignity, worth and uniqueness of every individual, unrestricted by considerations of social or economic status, personal attributes, or the nature of health problems. The nurse’s primary commitment is to the patient, whether an individual, family, group or community. The nurse promotes, advocates for, and strives to protect the health, safety and rights of the patient. The nurse owes the same duties to self as to others, including the responsibility to preserve integrity and safety, to maintain competence, and to continue personal and professional growth. The nurse participates in establishing, maintaining and improving health care environments and conditions of employment conducive to the provision of quality health care and consistent with the values of the profession through individual and collective action. The nurse participates in the advancement of the profession through contributions to practice, education, administration and knowledge development. The nurse collaborates with other health professionals and the public promoting community, national and international efforts to meet health needs. The profession of nursing, as represented by associations and their members, is responsible for articulating nursing values, for maintaining the integrity of the profession and its practice, and for shaping social policy. The relationship between an association’s nurse’s culture, ethical behavior and decision making can be divided into severe parts. According to the Ethics Resource Center when serving the health care industry place more emphasis on profit, they risk losing their integrity. Health care practices that are more concerned with their place in the market often face greater challenges in maintaining ethical standards. Administrators, doctors and other health care workers provide ineffective care when their priorities become skewed. Care eventually is eroded when the organization’s culture promotes greed and power over patient-centered care. Now there are seven guidelines in making ethic decision making when individuals find themselves in the position to make decisions, they should first consider some of the guidelines associated with ethical decision-making, and keep these in mind throughout the entire decision-making process. Nurses deal with people during some of the most vulnerable times in their lives. It is therefore critical that there be a clear description of the duties and obligations that are an integral part of being a nurse. A high standard of ethics and personal responsibility is imperative. The American Nurses Association Code of Ethics is a nine-part that defines the expectations and responsibilities of the professional nurse. A code of ethics makes the primary values, obligations, and goals of a profession explicit. The American Nurses Association code of ethics serves a few purposes. It is a succinct statement of the ethical obligations and duties of every individual who enters the nursing profession. It is also the professions nonnegotiable ethical standard. The American Nurses Association code of ethics is also an expression of nursing’s own understanding of its commitment to society (ANA, n. d. ). Part of the statement of purpose, or mission statement, is that the American Nurses Association is dedicated to ensuring that an adequate supply of highly skilled and well educated nurses are available. The American Nurses Association is committed to meeting the needs of nurses as well as health care consumers. The code of ethics for nurses was established as an example for handling the responsibilities as a nurse in a behavior consistent with quality nursing care and the ethical responsibilities of the occupation. One ethical theory the American Nurses Association bases their code of ethics on is ethical relativism. They believe that people’s opinions vary from society to society and what one person believes is right is not necessarily what another person believes. This relates particularly to autonomy due to the fact that each individual is allowed to make their own decisions based on their care. The patient has the choice to accept or decline the care offered by their medical provider. the medical team has to abide by the patients choice whether or not they agree with it. another ethical theory that the American Nurses Association stands behind is deontology. Deontology, according to American Nurses Association (2014), â€Å"examines a situation for the essential moral worth of the intention of act, or rightness or wrongness of the act†. This theory correlates well with beneficence because it essentially means to be compassionate. As a nurse it is important to attempt and do well in every aspect of your job but it is most important to strive to help each individual to the best of ability. Most codes of ethics have little to say regarding charter and virtue, as such moral values are difficult to methodize than rules and principles of behavior. The American Nurses Association code is arguably unique in its relative emphasis on virtue and character, most especially the virtue of compassion. Most ethicists today recognize the importance of virtue and character in concert with the recognition of rules and principles in order to achieve a more complete and fulfilling moral life and in order to more sincerely and authentically discharge one’s moral duties. Even in the American Nurses Association code, the primary intended interpretation is likely to have been deontological and contractarian, but the importance of character and virtue is not ignored either.

DWI

DWI Drinking and DrivingOBJECTIVEAs one of the leading causes of automobile accidents and deaths, the dangers involved in DWI (Driving While Intoxicated) needs to be brought to the attention of the drivers and the general public. The ultimate goal of this project is to bring a better understanding about DWI to the public in an attempt to enforce safety on the roads.OVERVIEW New.movieThis is the main movie. Start up the project from this movie. All other movies will be opened up as movies in a window. Most importantly, it contains the main menu which includes the help function (dice), navigational buttons (beeper), and the two main icons (glass key.) As the background music, a jazz tune by Joe Pass was borrowed. Mouse clicks on the navigational tools will make highlights on the buttons (along with descriptions on the LCD) and sound off a corresponding puppet sound (note that the 'chaching' or 'cough' sound plays only while the mouse is down.)Pink Floyd in January 1968 Left to right: Maso n, B...Some functions such as volume control, quit, and help are under construction. Dash.pict (dash)This frame was intended to create an interactive driver's seat in which the user can learn about the functionalities of the gauges and instruments. However, this page frame is currently under construction. Once it is finished, the following shall be available. · Each gauge and instrument will light up (rollover effect) and then give the name a brief description of the functionality (by sound.) · Detailed information can be seen with a mouse click on the gauge which moves the frame to the next destination. · Driver's education tutorial (manual and/or automatic transmission.) Car_flash.movie (car)This movie functions as a sub-menu page frame for the 'Driving' theme. Putting the cursor on the topic bar will show a brief...

African American Civil Rights Movement

The African-American civil rights movement is about a century old and it started from the grassroots level for the end of racial injustice and social discrimination towards African Americans. The struggle was a combined effort of the many black African American leaders, ministers and communities comprising the authorities of black churches, editors and publishers of black owned newspapers, racial and interracial organizations. The struggle was for getting the basic civil and human rights which the society was denying to them. There were many organized legal challenges in the court of law and also many acts of courage against cruel police actions against the movement. (History Topic, African American civil rights movement) A particular example of this type of struggle has been displayed in the book Warriors Dont Cry written by Melba Pattillo Beals. The author has narrated a horrible example which clearly shows the extent of racial feeling and hatred that was prevalent in the US society during 1950 after the Second World War. â€Å"As she walks through the halls and rooms of the old school, she recalls the horrible acts of violence that were committed by the white students against her and her friends.†(Warrior’s Don’t cry, Free Essays). In spite of the Supreme Court order in 1954 that all schools must provide equal education to all students and it would be unconstitutional for some schools to deny this opportunity to some, the worst incident happened at Central High School in Little Rock, Arkansas. The school authorities took three years to complete the integration plan. The entire white community in the town started protesting the integration plan and acts of violence towards the African American community spread in the town. Seeing the public  outrage many black students decided to stay back in the black only school in the city that was under funded. (Warrior’s Don’t cry, Free Essays) The local Arkansas authorities passed laws and ordinances that would prevent the integration plan of the school. The Governor of Arkansas sent National Security Guards to surround the school building and prevent the black students entering the school premises. Nine black students, which includes the author Ms Beals defied the order and started walking towards the school. But they could not reach the school as â€Å"before they even reached the property they were met with great resistance from racist citizens who spat upon them, mocked them, threw sharp objects at them, and even physically beat them. Melba describes the deep hurt she felt as for the first time in her life she saw the harsh reality of racism at its worst.† (Warrior’s Don’t cry, Free Essays) The incident took the nation by storm as the African American civil rights movement was then at its peak form. Amazed by their courage against oppression, these young students popularly came to be known as Little Rock Nine and they were appreciated for the stand they had taken against the oppression that their people were facing for the past few centuries in America. The blacks were forced to use separate restrooms, drinking water, restaurants, sidewalk and every other means of public utility service. Though during this time, people started to believe that it is possible to co-exist peacefully with the blacks and that was good for the society at large, the South was not ready to accept the departure from their century old beliefs. (Warrior’s Don’t cry, Free Essays) The incidents of racism during the 1950’s in America’s south have also been described in the book ‘Separate Pasts: Growing Up White in the Segregated South’  written by Melton Alonza McLaurin. It is an honest admittance of the fact from a white Southerner that how severe was racism at that time. The author has described an incident of his in the book where he has punched a black boy named Bobo, because he used the same needle that he does to blow up the basketball. He has also referred an African American school teacher who forces him to call her â€Å"Miss†. (Amazon.com book review) This is an example which shows how African American school teachers were looked down upon by their white students during 1950’s.   These scattered incidents were enough to ignite the fire for the Civil rights movement. African American soldiers after returning home risking their lives from the Second World War, found that they were largely deprived and ignored at home. Thus â€Å"The National Association for the Advancement of Colored People (NAACP) and the Urban League  Ã¢â‚¬â€ including their Minnesota chapters — joined other organizations in using legal, political, judicial, economic, and legislative means to gain full citizenship rights for their people.† (History Topic, African American civil rights movement) Then the famous Reverend Martin Luther King, along with his colleagues under the banner of Southern Christian Leadership Congress (SCLC), started a nonviolent and civil disobedience movement that took the movement to a new height amidst mass protests. It started with the Montgomery Bus Boycott in 1955 and spread through sit-ins and large peaceful demonstrations, as local groups and their leaders joined the struggle. (History Topic, African American civil rights movement) The prominent                 leaders of the movement were W.E.B. Du Bois, Malcolm X, Martin Luther King Jr., Rosa Parks, etc. (African-American Civil rights Movement)

CAPM and Fama French Coursework Example | Topics and Well Written Essays - 2250 words

CAPM and Fama French - Coursework Example The report uses the Eviews for the data analysis and hypothesis testing for CAPM & FAMA French Model (Dougherty, 2011) The paper is bifurcated into two parts. Part 1 is based on the test of Capital Asset Pricing Model and Fama French Model using the factors for US stocks for the period of 1963 to 2013. Part 2 of the report is based on the audit fees to evaluate whether the firm characteristics explain the cost of audit or not. The capital asset pricing model is referred to as the model that describes the relationship between the risk and return, which determines the appropriate required rate of return on assets. (Sharifzadeh, 2010) The formula for capital asset pricing model is as follows Βi = Beta , which refers to as the sensitivity of the risk premium to the expected return. The risk premium is referred to as the excess ret urn of the market over the risk free return .i.e. (E (Rm) – Rf) Fama & French model is referred to as the extension of capital asset pricing model. The model adds the size and value factors in addition to the market risk factor in capital asset pricing model. The model considers the fact that whether the small cap stocks and value stocks outperform markets on regular basis. This is the reason; Fama French model is referred to as the three factor model. (Bodie, et al., 2009) The section of the report identifies the fact that why should we test CAPM and Fama French Model? The answer is that the CAPM is used to assess the impact on expected return on asset exclusively by the movement in market risk premium. The CAPM gives an ideal situation of how to price securities that are traded in financial markets to determine the expected return on asset. The major reason to use the CAPM model is that the model gives the objective nature of cost of equity, which the model can yield. (Besley & Brigham, 2007) The Fama French model supplements the CAPM model to further evaluate the cost of equity in terms of return on